I create wearable art. Jewelry made of gold, platinum, and silver. I use
diamonds, pearls, and semi-precious stones. Each piece is a blending
together of the science behind the making of jewelry and the art of having
vision and making it come to life. My newest line Forever Young combines two
unrelated materials; diamonds and plastic. I created this line in hopes of
changing the way some might look at jewelry and for me it was about changing the boundaries and choosing something playful.

Over the years, the continuous creative collaboration of Talya Baharal and Gene Gnida has had a broad and sweeping influence on each others work. The artistic and personal relationship flamed their innately intense curiosity and attraction for working with new forms, materials and techniques. In 1988, they decided to channel their creative energies together and as a team founded Baharal-Gnida Designs. The confluence of Baharals strong conceptual and design sense and Gnidas creativity with sculptural forms and extensive technical expertise has impacted their individual as well as collaborative efforts and their work has evolved into gallery caliber pieces.

Designer Anette Wilhelmi.
Anette stared as an apprentice in a seamstress shop. The, she studied textile design in Maastrich Holland. After graduation, she opened a silkscreen studio in Bonn, Germany to print her designs and introduce them to the public. Shortly after her first exhibition in Bonn she began to work with felt. She had found the material fascinating since she had been introduced to the concept of textiles as jewelry in Holland. Within a short time she had produced some wonderful designs in bracelets and earrings. This was the beginning of her current collection of contemporary jewelry combining felt, stainless steel, sterling silver and freshwater pearls.

My work is inspired by Asian art and natural forms, and I strive to maintain a quiet grace in each of my paintings. It is my hope to create jewelry with clean lines and simple elegance, while maintaining evidence of the human hand.
Throughout time, cultures from all over the world have used plant and animal forms to symbolize important aspects of their lives. My work is especially influenced by these images, and I love knowing that the significance of each subject goes far beyond its aesthetic value
Ananda draws inspiration from Asian art, natural forms, and the coool sleekness of metal. Each of her pieces contains an original painting on paper which is set behind hand ground glass in fine and sterling silver. Because she paints each piece indiviually, they are all unique due to slight variations. Much of her work is accented with the highest quality semiperecious stones and/or high karat gold.

Mary Kanda began making mosaic jewelry shortly after moving from New Mexico to New England in the early 1990's. Her early designs of plant and leaf motifs colored with glass beads imbedded in grout were a synchronistic fusion of many interests; gardening, tribal arts, the profusion and variety of trees in New England, a life long preoccupation with glass and ceramics, and, not least, cooking and sewing, the arts of the home. Currently she lives and works in Los Luceros, New Mexico.

The search to find a balance between the decorated surface and the pot's form is a puzzle, with an elusive solution, that sustains my interest. I'm prompted to design the surface spontaneously; to map my experiences and draw from my inspirations.
My work forms a bridge between two-dimensional media and the sculptural aspects of pots. An etched line, a calligraphic brushstroke and the movement and pattern of a written language influence the surface. Growth and motion are represented by universal images of birds and plants.

Balancing tradition with a contemporary approach is crucial to me. My choice of material and forms are fairly traditional, so that I remain part of clays long heritage. The way I touch clay references 400-year-old Japanese teaware, yet in my drawing I reference cartoons and Western childrens literature. My glazing is also contemporary, using asymmetrical compositions to help create narratives. I regard color as a physical manifestation of emotion and thought. A sprinkle of pink glaze dots may indicate elation, or one green dot may be shorthand for a traffic signal giving the signal to move forward.

Carola Hiersemann has been the soul of Rosselini for the past nine years. A disciplined artist, Carola has refined her natural gift for mixing textures, shapes, and a wide-ranging color palette into a celebrated collection of jewelry. Native to Germany, Carola draws inspiration both from the pleasures of daily life as well as her experiences traveling the globe. To ensure the smooth integration of her work with European couture, Carola works closely with the fashion institutes of Berlin, Milan and Paris each season.
As Carola's reputation has grown she has become one of the few designers authorized by Swarovski® to use their trademark tag on her products. Many of the other beads used in the collection have been designed by Carola and are exclusive to the Rosselini collection.

The subjects that I use in my jewelry - various animals and nature forms - are often from my daily experience of living in coastal Florida. They represent a figurative view of the way I see nature in its environment. Each piece is made by hand in my studio in Florida.

Plant Detail, Blossom, Garland
and Flower Gobo.
Seedpods, buds, twigs and the internal structures of fl owers are abstracted and magnifi ed in
different scales. Some pieces refl ect how plants change and grow throughout the seasons.
The Plant Detail collection is concerned with extracting and arranging individual elements of
nature into three-dimensional compositions to capture a narrative within a frame.
The Blossom collection explores cherry blossom and Spring time. The intention of the work
is to create wearable elements of nature. The Garland collection is inspired by forget-me-not
fl ower heads and tiny leaves picked from the garden and arranged in clusters or small posies.
All her jewellery is hand constructed using shaping, die-pressing, piercing, soldering and
forging techniques. Surface texture and fi nishes are applied using roll-printing, punches,
oxidising and gold leaf.